“Mattering” as a verb might suggest a process by which matter is made, or made to appear, or made to matter. Each of us deal, in this work we now present, with matter: with its transformations, transmutations, and translations. All of our makings embody an awareness of the hiddenness of many processes, even the processes of meaning-making, of legibility.
Because Earth is central to our existence and our art, in the form of clay and in the various metaphorical instances and insistences of clay, the poems produced during this collaboration, produced in the presence of the materials of ceramics, can be considered a translation of a poem from Middle English, “Earth took of Earth.”
The sculptural objects reflect both on the poems and the conversations that connected the artist and poet. The invisible threads that form these connections stretch beyond what is physically present as we explore the act of collaboration.
Part of the conditions we considered while making and transforming things by means of earth, air, fire, and water. And thought, and experience: we are concerned with “media,” with things that get between the world and the self and thus prevent immediate experience. Or, things that enable a connection between outside and inside, world and self.